shambling shimmies dance company llc student handbook ... · o level 2.5 (attend level 3 classes in...
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Shambling Shimmies Dance Company LLC
Student Handbook - Level 1 - Tribal
Updated April 2012
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Level 1 Student Handbook - Tribal
CLASS CATEGORIES AND LEVELS OVERVIEW.................................................................................................3
LEVEL 1 – Open/Introductory....................................................................................................................3
LEVEL 2 – Foundations...............................................................................................................................4
LEVEL 3 – Stylizations.................................................................................................................................5
LEVEL 1 COURSE DESCRIPTIONS....................................................................................................................7
Tribal Bellydance........................................................................................................................................7
General Bellydance....................................................................................................................................8
Bellydance with Fire...................................................................................................................................9
STUDIO (AND OTHER USEFUL) INFORMATION............................................................................................12
SHAMBLING SHIMMIES LEVEL 1 TRIBAL GROUP VOCABULARY..................................................................13
LEVEL 1 SHAMBLING SHIMMIES TRIBAL FORMAT CUES AND VARIATIONS HANDOUTS........................14
SLOW MOVES.......................................................................................................................................14
FAST MOVES.........................................................................................................................................17
LEVEL 1 TRIBAL CONCEPTS HANDOUTS...............................................................................................22
SHAMBLING SHIMMIES LEVEL 1 TRIBAL IMPROV STUDENT GROUP (“SWAMP DAISIES”).........................27
PERFORMANCE GUIDELINES....................................................................................................................27
COSTUMING GUIDELINES........................................................................................................................30
LEVEL 1 TO LEVEL 2 PROGRESSION GUIDELINES (TRIBAL)...........................................................................32
LEVEL 1 TRIBAL FORMAT PROGRESS CHART................................................................................................34
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CLASS CATEGORIES AND LEVELS OVERVIEW***NOTE Classes currently listed as small group courses can be scheduled as topics for 6-week prepaid private, semiprivate, or small group
courses. We may also occasionally partially cover some of these topics in workshops or other classes.***
LEVEL 1 – Open/Introductory
• Open to all levels
• Classes require either:*
o no dance experience at all OR
o concurrent attendance of either a Shambling Shimmies Tribal Technique Class OR
o a General Drills/Technique Class
o *see class prerequisites for specifics.
• Beginning level performance opportunities are available (but not required) when student has achieved
appropriate level of familiarity with material.
CATEGORIES:
TRIBAL GROUP IMPROVISATION
Classes are designed to introduce students to the core Shambling Shimmies Group Improvisation
Vocabulary, Basic Isolations, Formations, Jamming, and other topics involved in basic tribal improvisation.
Special topics courses are offered covering a range of material within the tribal and tribal fusion genres
both expanding on and utilizing concepts learned in the basic Tribal Technique Class. ALL students
interested in tribal improvisation MUST begin in a L1 Tribal or Moves & Cues class/course and complete at
least 1 full cycle (usually at least 12 weeks) before being considered to move up to level 2 classes (which
require instructor approval).
L1 TRIBAL CLASSES/COURSES OFFERED:
• Tribal Bellydance, Shambling Shimmies Style – Open Class
• American Tribal Style with Inna – Open Class (limited time)
• Shambling Shimmies Tribal Format: Moves & Cues, L1 parts 1, 2 – Small Group Course
• Shambling Shimmies Tribal Format: Moves to the Tribe, L1 – Small Group Course
• Tribal Soloing Basics – Small Group Course
• Skeletons Halloween Special Performance Class – Seasonal Class
GENERAL BELLYDANCE
These classes are designed to introduce and drill general bellydance technique that can provide a basic
foundation for most styles of bellydance. These classes can be taken alongside of or entirely separate
from our tribal improvisation style classes. Currently, all of our drop-in classes are open to level 1
students. Students new to Shambling Shimmies who are not interested in tribal style can begin in any of
the other bellydance classes since required technique is taught in each class during/following the warm
up. Students wishing to progress and hone their technique, however, should consider regularly attending
the General Bellydance Technique class at some point, if possible, as this class is where the technique all
Shambling Shimmies classes use is thoroughly explained, broken down, and drilled.
L1 GENERAL CLASSES/COURSES OFFERED:
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• Bellydance Technique – Open Class
• Beginning Bellydance Sampler – Open Class
• Bellydance Bootcamp – Open Class
• Bellydance Party Jam – Open Class
• Egyptian Style and Technique with Omega – Open Class
• Drills / Technique Intensive, L1 – Small Group Course
• Shimmy Intensive, L1 – Small Group Course
• Gooey Moves, L1 – Small Group Course
• Intro to Rhythms, L1 – Small Group Course
• L1 Cabaret or Tribal Fusion Choreography – Small Group Course (also offered in
Beginning Bellydance Sampler)
• Ghosts Halloween Performance Veil Choreography – Seasonal Class
FIRE SERIES
This series is designed to introduce fire adaptations to the Shambling Shimmies L1 vocabulary for fire
palms (small torches) and fire staff for use in tribal improvisation. Students interested in this series should
currently be regularly taking another L1 Shambling Shimmies course or higher (or have taken one in the
past) or make other arrangements with the instructor. At least some experience with Shambling
Shimmies Tribal Format is recommended. (note: the series must be taken in order – palms before staff)
L1 FIRE CLASSES/COURSES OFFERED:
• Bellydance with FIRE! - seasonal class
• Intro to Tribal Fire (Fire Palms) – Small Group Course
• Shambling Shimmies Tribal Fire Staff, L1 parts 1,2 – Small Group Course
• Shambling Shimmies Tribal Fire: Moves to Tribe – Small Group Course
LEVEL 2 – Foundations
• Classes require instructor approval.
• Attendance levels:
o LEVEL 2 (attend primarily level 2 classes): student must show proficiency and receive instructor
clearance in all L1 material (see instructor for specifics).
o LEVEL 1.5 (attend level 2 classes in addition to regularly attending level 1 technique classes):
must have attended level 1 technique classes long enough to have been introduced to ALL level 1
material (see instructor for specifics) and receive clearance of instructor. Student will not be
considered a full level 2 until officially cleared on ALL L1 material.
• Performance opportunities will be available, but not required, reflecting students’ increased proficiency in
the dance.
CATEGORIES:
TRIBAL
Classes are designed to increase the group and individual vocabulary and improvisation skills, expand
formation options, improve zilling and musicality, and generally improve overall technique and execution.
Students can also take courses in various special topics allowing them to explore their technique and
artistry even more.
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All students in L2 Tribal Improvisation should continue to take at least one L1 Tribal Technique and Jam
Class per month. All tribal classes assume familiarity with L1 SHAMBLING SHIMMIES Tribal Technique.
L2 TRIBAL CLASSES/COURSES OFFERED:
• Tribal Bellydance, Shambling Shimmies Style (all levels) – Open Class
• Tribal Bellydance, Shambling Shimmies Style, L2 – scheduled week to week - invitation
only
• Shambling Shimmies Tribal Format: Moves & Cues, L2 parts 1,2 – Small Group Course
• Shambling Shimmies Tribal Format: Zills and Musicality, L2 – Small Group Course
• Shambling Shimmies Tribal Format: Moves to the Tribe, L2 – Small Group Course
• L2 Tribal with Props – Small Group Course (occasionally offered in regular L2 tribal
classes)
GENERAL
Classes are offered to improve on basic technique as well as introduce more advanced technique that is
used in both tribal and other styles of bellydance. Classes are also offered to provide students with a
variety of options to explore the aspects of the dance that interest them. (L2 Fusion Classes assume some
exposure to Shambling Shimmies or other Tribal Format).
L2 GENERAL CLASSES/COURSES OFFERED:
• Drills/Technique Intensive, L2 – Small Group Course
• Zills and Drills, L2 – Small Group Course
• Shimmy Intensive, L2 – Small Group Course
• Gooey(er) Moves, L2 – Small Group Course
• Drums, Zills, and Combos – Small Group Course
• Props Intro, L2 – Small Group Course
• Solo Construction: Structured Improvisation – Small Group Course
• Solo Construction: Choreography – Small Group Course
• Cabaret Stylization Basics – Small Group Course
• L2 Cabaret, Fusion, or Prop Choreography – Small Group Course (also offered in
Beginning Bellydance Sampler Class)
• Fusion Basics – Small Group Course
• Halloween Show Prep, L1.5 (Zombie) or L2 (Cats) Duets – Seasonal Prepaid Class
FIRE SERIES
In these courses, students will not only increase their vocabulary, execution, and comfort with the fire
props, but will also begin to learn to more seamlessly fuse the fire dance and bellydance elements
together. Students generally should be L2 in non-fire classes before moving on to L2 fire class. Students
only interested in fire palms may opt out of the fire staff courses. Students interested in fire staff may
NOT opt out of the fire palms courses – they must take the series in order.
L2 FIRE CLASSES/COURSES OFFERED:
• Shambling Shimmies Tribal Fire, L2 (Palms) – Small Group Course
• Shambling Shimmies Fire Staff, L2 part 1,2 – Small Group Course
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LEVEL 3 – Stylizations
• Classes require instructor approval
• Attendance levels:
o LEVEL 3 (attend primarily level 3 classes): student must show proficiency and receive instructor
clearance in all level 2 material (see instructor for specifics)
o LEVEL 2.5 (attend level 3 classes in addition to regularly attending level 2 technique classes):
student must be a full level 2, must have regularly attended level 2 classes long enough to have
been introduced to all level 2 material (see instructor for specifics), and must receive clearance
from instructor. Student will not be considered a full level 3 until officially cleared on ALL L2
material.
• Performance opportunities will be available, but not required, that reflect the students’ increased
abilities.
• In all categories of level 3, as always, classes will work on improving vocabulary, technique, and execution.
In level 3, however there will be a special focus on style. In courses at this level, students will delve
deeper into their chosen stylization(s). This is also the level where students will be more fully exposed to
elements of Shambling Shimmies signature styles as well as encouraged to begin working on developing
their own personal styles within their chosen genres.
(MORE INFORMATION ON LEVEL 3 SPECIFICS COMING SOON)
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LEVEL 1 COURSE DESCRIPTIONS
Tribal Bellydance
Tribal Bellydance, Shambling Shimmies StylePrerequisites None
Format Drop-In
Description • Learn Shambling Shimmies Format of Tribal Style Group Improvisation in a fun and
casual atmosphere.
• Tribal Bellydance is a group improvisation style where a common vocabulary of moves
are cued by a leader so the group (or “tribe”) can dance together without a
choreography.
• Classes include technique/move instruction, drills/review time, and jam time.
• This class is a mixed level class open to all levels – no experience necessary.
• Instruction is offered on the absolute beginner level. Level 2 options will then be
presented to students who have adequately mastered Level 1 technique and
concepts.
Shambling Shimmies Tribal Format: Moves & Cues - Level 1 Part 1Prerequisites None
Format Preregistered (Small Group, Private, or Semiprivate)
Description Part 1 of a 2 part series introducing students to the Shambling Shimmies Tribal Improvisation
Format. This class includes basic slow and fast tribal moves along with appropriate cues, turns,
traveling, etc. Students who complete the entire 2 part series will be introduced to the full
level 1 Shambling Shimmies vocabulary.
Shambling Shimmies Tribal Format: Moves & Cues - Level 1 Part 2Prerequisites Shambling Shimmies Moves & Cues - Level 1 Part 1
Format Preregistered (Small Group, Private, or Semiprivate)
Description Part 2 of a 2 part series introducing students to the Shambling Shimmies Tribal Improvisation
Format. This class includes basic slow and fast tribal moves along with appropriate cues, turns,
traveling, etc. Students who complete the entire 2 part series will be introduced to the full
level 1 Shambling Shimmies vocabulary.
From the Moves to the Tribe: Level 1Prerequisites Familiar with Shambling Shimmies Tribal format or permission of instructor
Format Preregistered (Small Group, Private, or Semiprivate)
Description Focuses on taking the moves you've learned, and putting them to work in the group dance
context. During this class you will learn the specifics of formations, working together as a tribe,
and performance basics (including costuming). Students do not need to have an interest in
performing to attend, as the material learned will be useful in the ongoing all levels course.
Tribal Soloing Basics - Level 1Prerequisites Familiar with Shambling Shimmies Tribal format or permission of instructor
Format Preregistered (Small Group, Private, or Semiprivate)
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Description This class introduces students to multiple concepts intended to improve your confidence and
execution of solo work. The class includes a different focus each week w/ guided improvisation,
exercises, ‘homework assignments’, and a class project. Small group class with plenty of
individual attention and practice time and focused exercises will allow for pushing your
creative boundaries.
Skeletons (Tribal) Halloween Special Performance ClassPrerequisites Familiar with Shambling Shimmies L1 Tribal Format or Permission of Instructor.
Format Drop-In Special Topics series
Description This class is for preparation for the Tribal Skeleton performance in the annual Halloween
Satchels Shakedown. Minimum attendance and costuming requirements apply for students
who wish to perform in the Halloween show.
General Bellydance
Bellydance TechniquePrerequisites None
Format Drop-In
Preregistered (Small Group, Private, or Semiprivate as Drills/Technique Intensive) also available
Description • This class breaks down basic technique that is used in a variety of styles of bellydance.
• Class includes technique breakdown, light conditioning, footwork, and drills.
• This class is a mixed level class open to all levels, no experience necessary.
• Instruction is offered on the absolute beginner level with adaptations, layers, zills, and
alternate timings and footwork given for more experienced students.
Bellydance Party JamPrerequisites None
Format Drop-In
Preregistered (Small Group, Private, or Semiprivate as Drills/Technique Intensive) also available
Description • This class is for students who want a high energy class where they can dance straight
from the start of class to the finish!
• Class is open to all levels, any technique needed during the class will be integrated
into the warm up.
• Class consists of short combos and improvisation exercises (or dance games) to fun
music.
Beginning Bellydance SamplerPrerequisites None
Format Drop-In
Description • This class teaches through choreographies in a variety of styles for people who would
rather learn through whole dances instead of (or in addition to) moves/drills.
• Technique needed for current choreographies will be integrated into warm up /
reviewed during the class.
• Class is generally taught at the beginner level, though choreography difficulty will
vary.
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• All levels are welcome – no experience necessary.
Bellydance Bootcamp
Prerequisites None
Format Drop-In
Preregistered (Small Group, Private, or Semiprivate as Drills/Technique Intensive) also available
Description • This class focuses on flexibility, strength, and conditioning for bellydance.
• Classes will include dance based moves, floorwork, and drills as well as strength and
stretching exercises all specifically focused toward developing the physical condition
we need to become better dancers.
• Class is open to all levels, no experience necessary.
Shimmy Intensive - Level 1Prerequisites None
Format Preregistered (Small Group, Private, or Semiprivate)
Description Introduces students to many forms of upper and lower body shimmies, and drills these
movements. The course moves from basic to advanced shimmies, and will also include some
layering drills, based on the progression of the students during the class.
Gooey Moves - Level 1Prerequisites Familiar with Shambling Shimmies general format or permission of instructor
Format Preregistered (Small Group, Private, or Semiprivate)
Description This class introduces and explores in depth the basics required for getting your moves
(especially slow moves) smooth and graceful. It will particularly focus on concepts such as
muscular engagement and control, line, fluidity, attitude, as well as areas of frequent difficulty
for level 1 students such as arms, hands, undulations and posture. This class will be tailored to
the levels, needs, and interests of the students enrolled
Introduction to Rhythms - Level 1Prerequisites None
Format Preregistered (Small Group, Private, or Semiprivate)
Description This class introduces very basic Middle Eastern rhythms commonly used in bellydancing. There
will be 2 portions to this class, the Rhythm Familiarity section and the Rhythm Practice Section.
During the Rhythm Familiarity section, the student will hear the rhythm, learn what makes it
unique, and have the option of learning to play it on a drum or zills. During the Rhythm
Practice section, the student will have the option of practicing playing the rhythm to gain more
familiarity with it or learning a short dance combination to go with the rhythm.
Cabaret or Tribal Fusion Choreography - Level 1Prerequisites none
Format Preregistered (Small Group, Private, or Semiprivate)
Description Students will learn a Level 1 appropriate Cabaret or Tribal Fusion Choreography (They may pick
a particular choreography they wish to learn if they like). If students wish, an opportunity to
perform the choreography will be provided (at Satchels and/or at a Shambling Shimmies Hafla)
to students who know the choreography well enough at the end of the course (instructor
approval will be required).
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Ghost Halloween Performance Veil ChoreographyPrerequisites None, but some prior experience with bellydance technique is helpful
Format Seasonal Class
Description This class is for preparation for the Ghost Veil Choreography in the annual Halloween Satchels
Shakedown. Students who wish to perform in the Halloween show must know the
choreography (and receive instructors approval), and meet costuming and dress rehearsal
requirements.
Bellydance with Fire
Bellydance with FIRE!Prerequisites none
Format Seasonal Class
Description This class will teach fire (or LED) adaptations to the Shambling Shimmies Tribal Bellydance
Vocabulary for use in cued tribal improv. style fire performances or for solo use. We will also go
over the basics of fire safety as it relates to these types of practices and performances. This is a
mixed level class – no experience is necessary, and LED prop options are available for students
not comfortable with or ready for lit fire practice.
Introduction to Fire - FIRE PALMS - Level 1Prerequisites Familiar with Shambling Shimmies Tribal format or permission of instructor
Format Preregistered (Small Group, Private, or Semiprivate)
Description Basic introduction to belly dancing with fire, including prop adaptations of existing movements
and fire safety. This course starts with fire palms (hand torches), to build a foundation needed
to move on to more advanced props if desired. This course will be taught using both lit and
unlit torches. A small number of torches will be available to borrow during class, however
students are welcome to bring their own. This course can be taken as a standalone course, but
is also the introductory course in a series of courses that will introduce students to the
Shambling Shimmies Fire Bellydance Format.
Shambling Shimmies FIRE STAFF Moves - Level 1 Part 1Prerequisites Intro to Fire or permission of instructor
Format Preregistered (Small Group, Private, or Semiprivate)
Description This class teaches basic staff work and the beginner tribal bellydance move adaptations that
make up the Shambling Shimmies Fire Staff Format. This is part 1 of a 2 part series introducing
students to the level 1 fire staff format. This course will be taught with unlit and lit or LED staffs
depending on students' comfort level and abilities with the movements and skills learned.
Shambling Shimmies FIRE STAFF Moves - Level 1 Part 2Prerequisites FIRE STAFF Level 1 Part 1 or permission of instructor
Format Preregistered (Small Group, Private, or Semiprivate)
Description This class teaches basic staff work and the beginner tribal bellydance move adaptations that
make up the Shambling Shimmies Fire Staff Format. This is part 2 of a 2 part series introducing
students to the level 1 fire staff format. This course will be taught with unlit and lit or LED
staffs depending on students' comfort level and abilities with the movements and skills
learned.
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Moves to Tribe FIRE - Level 1Prerequisites Intro to Fire (and Fire Staff, L1 parts 1&2 if using Staffs) or permission of instructor
Format Preregistered (Small Group, Private, or Semiprivate)
Description This class takes the moves that were learned in the FIRE series and focuses on working as a
tribe and lighting up while taking into account the special considerations added by fire. This
class will be taught with both unlit and lit fire props.
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STUDIO (AND OTHER USEFUL) INFORMATION
CLASS LOCATIONS
SHAMBLING SHIMMIES STUDIO
All classes, unless otherwise arranged, are held in our studio on the second floor of the Executive Center on NW
13th St. in Gainesville, FL.
ADDRESS
The Executive Center
4131 NW 13th Street, Suite 202
Gainesville, FL 32609
CONTACT INFORMATION
Heather Fullen, Business Director
Julia White, Education Director
WEBSITE
www.ShamblingShimmies.com
www.facebook.com/ShamblingShimmies
PHONE
352-317-1362
CLASS SCHEDULE
We regularly offer classes 5 days / week Monday – Friday, as well as monthly Drum Circle/Haflas and Student
Shows, and occasional Workshops and Intensives. We post updated class schedules monthly on the website blog,
facebook page, and newsletter, and we keep an up to date studio schedule on the website at
www.ShamblingShimmies.com/class-event-calendar.
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SHAMBLING SHIMMIES LEVEL 1 TRIBAL GROUP VOCABULARY
The Level 1 Group Vocabulary is the basis on which everything else in the Shambling Shimmies format will be built.
This set of moves, combinations, and isolations – complete with their cues and variations – provides you with a
common ‘language’ you can speak with other dancers when improvising in order to create a dance in the moment
while still allowing the group to dance as a unit. These moves will continue to be the ‘meat and potatoes’ of your
dance for as long as you remain in our format. Moves in future levels will build upon moves, isolations, and
concepts learned in this level, so you should be comfortable with the entire level 1 vocabulary before attempting
to move on.
SLOW MOVES
Taxim
Maya
Reach and Lean
Basic Arms
Horizontal Figure 8
Body Roll
Reach Forward/Arch Back
Torso Rotation
Camel
Large Hip Circle
Circle Pivot Walk
FAST MOVES
Singles
Doubles
Choo Choo (and arc turn)
Hip Drop (and kick)
¾ Shimmy
Egyptian
Arabic
Arabic Hip Twist
Arabic Chest Drop
Ghawazee Step Combo
Box Step
BASICS
Floreos
Pulling Taffy
Poses
Floreo Turn
ISOLATIONS
Hip Shoulder Chest
bumps pushes slides
boxes seesaw boxes
circles boxes circles
eights rolls eights
shimmies shimmies lift/drops
TRAVELING/FOOTWORK
March Releve Twist Dancer Turns
LEVELS
Standard Kickstand Lunge
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LEVEL 1 SHAMBLING SHIMMIES TRIBAL FORMAT CUES AND VARIATIONS
HANDOUTS
SLOW MOVES
TAXIM/MAYA:
Basic Cue: Center, Start move purposefully/ slightly exaggerated to right w/ arms in basic taxim or maya position
Variations:
• Basic arms raise/ lower from rest through second up to 5th .
• As arms raise over 2nd position, move into releve´ - when they lower back to 2nd position go back to flat.
• Travel: cue by turning body and leading w/ arm
• Turn: cue with head turn – gradual turn - lead passes around formation for timing of move/turn until it
returns to original position.
• Levels: cue by briefly raising on toes just before starting to lower – then cue to rise by briefly lowering
slightly farther just before starting to rise. Move slowly.
REACH AND LEAN COMBO:
Basic Cue: Center, Plunge left arm straight down, palm flat down, bring right arm straight up palm flat down while
rising onto toes.
Variations:
• Live music: This also cues musicians familiar in the format to switch to slow music – the downbeat of the
first measure of the new tempo should ideally time w/ or immediately after the right arm reaching its top
pose.
BASIC ARMS:
Basic Cue: Center, begin with slow, big right arm.
Variations:
• Various body / leg poses and angles – these should be led into slowly and purposefully and each pose
should be completed before moving into another.
• Travel: cue by leading with upper body and stepping out slowly (always start with right leg).
• Turn: cue with head turn – gradual turn - lead passes around formation for timing of move/turn until it
returns to original position.
• Levels: cue by briefly raising on toes just before starting to lower – then cue to rise by briefly lowering
slightly farther just before starting to rise. Move slowly
HORIZONTAL FIGURE 8:
Basic Cue: Center, bring arms from rest position to frame right hip, push right hip to front right corner.
Variations:
• Turn: cue (when right hip reaches back right corner) by bringing right arm to head and left arm to hip,
shift weight onto left foot and cross right foot over left – this is a slow half turn. It stops facing the back
and continues w/ horizontal figure 8’s until the new leader (in the back) cues to turn back around. (in
Level 1 the leader in back will only continue the move and then turn back around when they are ready …
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as levels progress, the leader will have the option to cue other moves while the formation is facing
backwards before coming back to the figure 8 and cueing to turn back around)
BODY ROLL:
Basic Cue: Body angles between 45 degrees and directly left, sit back onto right leg, left leg slightly forward of body
in high releve, left arm in high 1st, right arm in rest, begin w/ chest slide forward and weight shift onto front leg.
Variations:
• Arms: right arm can also be in 5th, or in high 1st, or both arms can be in 5th.
• Turn: cue with head turn – 1/4 turns to left to the corners – 2 repetitions at each corner – lead passes
around formation for timing and depth of move, body angles, and turn.
REACH FORWARD / ARCH BACK:
Basic Cue: Turn to left side – feet in cat/showgirl stance, arms in 5th. Begin move slowly (right arm to side, left arm
forward starts the move).
Variations:
• Stance changes – rather than staying in cat stance the whole time, the move can be enlarged by taking the
right leg forward into a lunge during the reach portion of the move and straightening it up into a tendu
front during the arch back. It can be enlarged even further by beginning with the same right leg forward
lunge during the reach portion and then bringing the right foot back so the left foot is in a tendu front
during the arch back portion. For these variations just make sure you are moving slowly and purposefully
through the positions so followers can see that where you are going… if you are following you should be
able to tell quickly if the leader is staying in place, moving forward, or moving backward, and you will –
from that – know what position to move to.
TORSO ROTATION:
Basic Cue: Reach left arm out at an angle (chest height).
Variations:
• None in level 1.
Notes:
• Be sure that the back portion of this move is a standing cobra, not a chest slide back, a layback, or a
backbend. In future levels a backbend may be added to the standing cobra, but not in level 1, and even
when backbends do start to be added, the initial arch of the upper back from the standing cobra position
MUST happen first and fully.
CAMEL (combo):
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Basic Cue:
• Pose: Right foot comes forward slightly with pointed toe, right hand at shoulder level with palm forward
(arm is bent keeping the elbow at the side of the body), left hand down.
• Combo: immediately after the camel is completed, the cue for the torso rotation cue will be given.
Variations:
• None in Level 1
Note: To avoid confusion, in level 1, the camel will almost exclusively be used as the full combo. A rare exception
would be in the case of the song (or slow section of a song) ending – you could just go into the camel pose and end
there rather than feeling the need to complete the full combo. In future levels, the camel pose alone may be used
on more occasions as a move by itself.
LARGE HIP CIRCLE:
Basic Cue: Center, Standard posture, left arm in 1st, right arm in rest, begin w/ hip sliding slowly out to right side.
Variations:
• Turn: cue with head turn – 1/3 turns to right - lead passes around formation for timing and size of move
until it returns to original position.
CIRCLE PIVOT WALK:
Basic Cue: Body twists slightly towards stage right (Left side towards audience – head still facing over left
shoulder), right leg bends up on toe, right hand pulls up as if pulling leg by a string, left hand down behind left hip
similar to hip work position. Move begins on next downbeat going to the right.
Variations:
• Turn: cue – when move completes a cycle and prepares to go right again (positioned in basic cue position
again) turn head over right shoulder instead of left shoulder. ¼ turns – move completes full cycle to right
and left facing all 4 sides. Lead passes around formation for timing and body angles.
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FAST MOVES
SINGLES:
Basic Cue: Arms in low hip work position (arms down to sides and wrist bent, palms to floor) to signal to watch for hip
work. Begin purposeful, steady singles - downbeat right.
Variations:
• With march or traveling – cue by lifting first (right) foot more exaggerated than otherwise.
• Arms: after the initial cue for hip work add arms as desired (moving through standard arm positions,
floreos, etc) just be sure to keep hip work steady unless you bring the arms back to cue for a change or
cue another move.
• Turn: cue with head turn – gradual turn – lead passes around formation for timing of move/turn until it
returns to original position.
• Levels: cue by briefly raising on toes just before starting to lower – then cue to rise by briefly lowering
slightly farther just before starting to rise. Move slowly. (can add raising/lowering of the arms to this cue
for additional visibility and depending on circumstances). Basic principle of levels: up to go down, down
to go up. Pay attention to which level position the leader has their feet in (together, kickstand, lunge-
prep) – it will tell you how far they intend to go down.
DOUBLES:
Basic Cue: Both arms come to frame right hip, right foot lifts up at the knee – there will be an exaggerated
drawback before the first set of hip bumps.
Variations:
• Traveling: angle body as you step right foot forward. Angles will swap as you travel. Center when you
reach the end. Then proceed to angle your right side back if you want to move back.
• Turn: cue with head turn – 4 corner turn – 2 hip bumps right and left to each corner and then turn to the
next corner. Lead passes around formation for timing of the turns until returning to original position.
CHOO CHOO:
Basic Cue: Body turns right side toward audience, arms in 3rd, head facing audience. Make first hip up
obvious.
Variations:
• Traveling – right arm should point toward intended direction of travel, elongate arms /flip palms over
slightly to cue for travel to begin. Similar cue to stop. To go backwards bring left arm down into second to
start and back up to stop.
• Turn: cue with head turn – for right turn bring right arm into 4th, for left turn, either bring right arm into 4th
or switch both arms into left facing 4th. Gradual turn – lead passes around the formation for timing.
CHOO CHOO ARC TURN:
17
Cue: (Cued out of Choo Choo) Left arm (originally in 5th position) comes down to meet right arm and both hands
gesture out towards audience.
Specifics:
• From here, both hands come to right hip and stay there as you do a gradual turn around to the left – lead
passing around the formation for timing and body angles.
• As you return to the original position the arms arc around making a full circle through the left, overhead
and back into original choo choo position (left arm stops in 5th, right arm continues down into second).
Follow original lead for timing – this should begin once the original lead can be seen again.
Variations:
• The move can end after the arc turn, but commonly is followed by one or two regular choo choo turns to
the right.
• These are not assumed and must be cued as usual with a head turn each time. The arc turn can be
followed by another arc turn, any number of turns to the right, turns to the left or no turns at all.
HIP DROP (&KICK):
Basic Cue: Body turns right side towards audience. Left arm in 5th position, right arm down and behind hip.
Variations:
• Hip Drop / Kick: Cue to add the kick w/ a yip. Yip again to go back to just the hip drop.
• Turning (with the hip drop / kick): Cue w/ a head turn. Gradual turn - lead passes around formation for
timing.
¾ SHIMMY / SHIMMY WALK:
Basic Cue: Arms in low hip work position (arms down to sides and wrist bent, palms to floor) to signal to watch for hip
work. Lift right foot. Begin slightly exaggerated ¾ shimmy (w/ march) on the right side
Variations:
• With traveling – cue by lifting first (right) foot more exaggerated than otherwise – can also add a slight lift
of the arms to go along with this. Look slightly over your shoulder to go back (not a full head turn as for a
turn cue).
• Arms: after the initial cue for hip work the standard arm position is a low arm, but you can change the
arms to other positions if desired.
• Turn: cue with head turn – gradual turn – lead passes around formation for timing of move/turn until it
returns to original position.
EGYPTIAN:
Basic Cue: Arms come into 5th position, palms facing one another.
Variations:
• Arms: Arms can also be brought into 1st or 2nd position for variety. 1st position is the arm position you
would cue ¼ turns from. 2nd position will also have an alternate zilling pattern in level 2.
• Turns:
o ¼ Turns: Begin w/ arm variation in 1st position – then cue w/ head turn (most often to left - the
¼ turn is possible, but much less natural to the right) (may add optional double yip – especially
for cases where the leader / cues may not be easily seen) … these turns will be (as named)
quarter turns – one turn to each side and end back in the starting position
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o ½ Turns: Begin w/ standard arms (5th palms facing one another) – cue by making standard arm
movement bigger and to the side some as opposed to just forward and back, also cross right foot
slightly over left all during the first beat of the Egyptian (may add optional yip – especially for
cases where the leader / cues may not be easily seen) … there will be 2 full rotations of the half
turns (4 half turns to the left) returning back to starting position.
• Traveling: As with other movements, make first step larger and slightly angle body into traveling to cue -
look down and back to go backwards (always lead w/ right side). This move can be done to get in the
circle (and around the circle) and will usually signify that you will be doing moves as a group in the circle.
ARABIC:
Basic Cue: Arms swoosh down in circular motion from rest through second up to 5th.
Variations:
• Turn: cue with head turn – gradual turn to right or left – lead passes around formation for timing of move
and turn.
• BALL:
o Cue: when moving into ball portion of standard Arabic, keep palms up when moving arms into 5th
and shoot arms up higher and straighter than usual for the first repetition.
o Arms: basic arms for ball version are 5th w/ palms together, but 4th position can be used as a
variation – and is especially nice for turning.
o Use the normal basic cue to go back to standard Arabic.
• FLAT:
o Cue: when moving into flat portion of standard Arabic, move arms into 1st instead of 2nd.
o Arms: after the cue, arms can be in 1st, 2nd, low arm position, rest, or even one arm in rest and
one in 1st for turning – basically anything not overhead.
o Use the normal basic cue to go back to standard Arabic.
• ARABIC CHEST DROP:
o This move is always cued out of Arabic - it will be gone over in a separate class (and has its own
cue handout)
ARABIC / HIP TWIST:
Basic Cue: body turns 45 degree angle to audience to begin exaggerated beginning Arabic step, arms shoot straight
out to sides flat to audience – with palms up.
Variations:
• Arm variation: Arms can also be in 1st position – when in this position, the move should generally be
slightly smaller and more contained. This is also the position that the arms MUST be in for ¼ turns to be
cued.
• Turns:
o 1/4 turns: Begin w/ arm variation in 1st position – then cue w/ head turn (most often to left - the
¼ turn is possible, but much less natural to the right) these turns will be (as named) quarter turns
– one turn to each side and end back in the starting position.
o 1/2 turns: begin w/ arm variation in 2nd position (standard arms) – then cue with BOTH a ‘yip’
during the Arabic portion of the move and the right arm folding across the body during the Hip
Twist portion of the move. There will be 2 full rotations of ½ turns (to the left) – during the ½
turns the arms fold in more than usual like they do for the cue – and then return to the starting
position
• Traveling / Circle: This move is frequently used to move into the circle and as a traveling move around the
circle.
19
o To cue into a circle from formation do a half turn to the RIGHT – WITHOUT cueing. The
formation should NOT follow you in the turn, rather, everyone should hold/pause/back up
slightly, make eye contact, and then the leader should gesture to begin again in the circle on the
next downbeat.
o When traveling, the right foot should cross over farther than usual during the Arabic portion of
the move and during the hip twist portion of the move the right foot will either move just right
next to the left foot (not going out as far as usual) or if you need further/faster movement, it can
actually cross behind much like a grapevine.
o When this step is being used for the circle it signifies that it is ok to cross the circle in pairs w/
Arabic. (while people are crossing, the circle will STOP moving until they rejoin on the opposite
sides).
ARABIC CHEST DROP
Basic Cue: Start from standard Arabic. During flat portion of Arabic (which will be first downbeat of Arabic Chest
Drop), bring arms down palms down (instead of palms up as usual) and come down harder than usual.
Cue back to Arabic: On downbeat (which will be Flat portion of Arabic) Flip palms back to palms up and come down
lighter than for Arabic Chest Drop.
Variations:
• None
Timing Notes:
Our timing for the Arabic Chest Drop (may or may not be the same as other tribes you have seen or worked with).
Beat 1 2 3 4 5 6 7 8
Move Flat Ball Flat Ball Flat Drop Drop Drop
GHAWAZEE STEP (combo):
Basic Cue:
• Step: arms in ghawazee position ( a little lower than second, slightly more rounded, palms between facing
the audience and facing the floor), very bent kneed posture, slightly wider than usual, step out to the right
with a large loose exaggerated ¾ hip, right hand flips up
• Combo: begin an 8 count of basic ghawazee steps and ‘yip’ on count 7 (count 7 should occur on the right
side) indicating that the next section of the combo will begin on the 1 of the following 8 count.
Variations:
• The combination consists of 3 parts (in level 1) – the step, the ¼ turn section of the combo, and the
• ½ turn section of the combo. They do not all have to be included each time the move is cued. They also
do not have to be done immediately after one another. They do have to be done within the same song.
(i.e. if a new song starts, the combo starts over)
• Your options are:
o STEP ONLY – just cue the ghawazee step portion … do not yip to go into the combo.
o STEP plus ¼ TURNs – cue the ghawazee step, when you are ready, start an 8 count in your head
and cue the combo w/ a yip … this will move into an 8 count of ¼ turns to the left to the corners
of the room/stage. When these finish, the move reverts back to the original ghawazee step. You
can then move from here to any other moves you wish without cueing the half turns.
o STEP plus ¼ TURNs plus ½ TURNs – at any point (during the same lead) after the ¼ turns (even
after doing other moves) you may return to the ghawazee step, when you are ready, start an 8
count in your head and cue the combo w/ a yip … this will move into an 8 count of ½ turns to the
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left to the corners of the room/stage (back-stage left, front-stage right) and then reverts back to
the ghawazee step.
o At this point the combo is finished and if you were to cue the combo again it would begin again
at ¼ turns (in level 1)
• NOTE: The simplest way to cue the entire combo is to do it in immediate succession – 1-2 8 counts of
ghawazee step, 8 counts of ¼ turns, 1-2 8 counts of ghawazee step, 8 counts of ½ turns … part of the
reason for the allowed break in the middle, though, is that it is a very long combo and it gives you a
chance to respond to the music rather than being locked into the combo if the music changes, but still
have the option of picking up where you left off.
BOX STEP (or V-Step):
Basic Cue: Arms in Second, large step out to right front corner of “box” with large exaggerated hip bump.
Variations:
• Arms: after the initial cue, arms can be moved into an alternate arm position of the ghawazee step arms
or low arm if wanted.
• Turn: cue with head turn – ¼ turn – lead passes around formation for timing, etc. until it returns to
original position.
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LEVEL 1 TRIBAL CONCEPTS HANDOUTS
CHORUS GUIDELINES
FORM:
Standard: The chorus should form a shallow semi circle open to the front of the stage or the audience centered
around center stage or the center of the active performance area. Dancers will face stage left (not straight on –
they should be at a 45 degree angle or so to the audience). It should adjust in spacing/length, etc as people come
and go out of it to maintain this shape (with people evenly spaced) and continue to frame the performance area
(or when there is a lack of a clear performance area – frame the dancers that come out to do solos, duets, trios,
and quartets). The leader is the person in front of the chorus (farthest stage left in the standard form).
Alternatives:
• The chorus can turn around to face stage right for short periods of time. To do this, the leader turns
around – no cue is needed. The turn passes down the line until it reaches the end. Each person in line
will do one repetition of the current move facing the previous direction, and then turn and proceed to
continue the move in the new direction. No one should turn until the person directly in front of them
turns. When the chorus is turned completely to stage right, the new leader is the person in front and they
may change moves and turn the chorus back around whenever they wish. Turning the chorus back
around follows the same procedure.
• The chorus can face the center of the line for short periods of time. This would start as if the chorus were
turning around, but the person just past the center of the line can make the decision not to turn around
and continue to face the previous person. This decision can only be controlled by the person in that
position and that person becomes the new chorus leader. At any point to bring the chorus back pointing
one direction, either middle person can turn around and the turn will then pass the rest of the way down
the line in that direction.
• The chorus can face the audience for short periods of time. To cue this, the leader of the chorus simply
turns to face the front and this passes down the line just as any other turn in chorus. The leader is the
person on the far left (stage left). To go back to normal facing either side, the leader turns to face that
direction and that turn passes down the line.
Important: All turns in Chorus pass down the line one person at a time with each person completing
one complete (both sides) repetition of the current move facing the previous direction before turning and
passing the turn on to the next person.
MOVES:
Moves in Chorus should be kept relatively simple, and should be chosen to complement both the music and the
moves of the formation in center (i.e. not distract from them or clash with them – you are their chorus, not the
other way around). Chorus moves also should not change as often as moves in the center formations. When
choosing moves, keep in mind the amount of space / crowding in the chorus at the time and adjust as necessary
(arms may need to be kept small, for example).
CIRCLE GUIDELINES
CUES:
• “follow me” – 3-step or chaine turn w/ arms overhead – will be combined w/ long yip, zaghareet, or short
yip depending on the individual cue. Whenever this cue is done, each successive person in line will follow
22
with their own 3-step or chaine turn and then move into whatever was cued (if the turn is done w/out any
verbal cue it is just cueing for everyone to follow with their own turn and then go back to whatever they
were doing before)
• From Chorus to Circle – “follow me” cue in front of line w/ long yip or zaghareet, then proceed to lead
group into circle.
• From Circle to Chorus – “follow me” cue w/ long yip or zaghareet and break off to lead the line into the
chorus.
• To take over lead in Circle – “follow me” cue w/ short yip and move into whatever the next thing you
want to cue. (Dancers follow in succession around the circle.)
• From Formation to Circle – leader of formation begins whatever move they wish to start the circle in and
then does a quick, uncued half turn to the right to face the rest of the formation … everyone makes eye
contact, backs up slightly and prepares, and begins moving in a circle on the next downbeat.
• From Circle to Formation (4 or less people) – new formation leader yips as they approach the front left
corner of the stage (or performance area) and turns away from the chorus to face the audience –
everyone else falls into standard formation (they should already be very close)
MOVES:
• Arabic Hip Twist – when this move is done in the circle pairs can cross the circle using Arabic … when a
pair is crossing, the circle stops moving and holds their places until they fully rejoin the circle and then
starts moving again.
• Walking/Marching Type Movements – (ex: twist march, ¾ shimmy, traveling single and double hip bump,
maya, taxim, etc) when these moves are done in the circle, short solos and duets can be done in the
center of the circle.
BASIC FORMATION / ORDER
CUE:
• Cue for open formation (anyone may join up to the 4 person formation limit): Dancer leaves the chorus
and looks back and smiles at the chorus or broadly (and generally) gestures toward the chorus.
• Cue for closed formation (only the selected people may join): Dancer leaves the chorus gesturing to
specific people in the chorus. No one else may join this formation even if there are ‘spots open’ in the
formation.
FORM:
• Standard 4 person formation:
(chorus)
4 3
2
1
(audience)
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ORDER:
• Each dancer’s place in the formation is determined by the order in which they come out of the chorus.
(the first person goes to position 1, 2nd to position 2, and so on)
• The formation can have anywhere from 2-4 people in it (one would just be a solo, no more than 4). The
order and positioning works exactly the same, no matter how many or few dancers there are. (For fewer
than 4 dancers, there will just be no one in the remaining positions)
• In performance situations, position 1 (and thus the first person out of the chorus) will be the leader of the
formation and must be a dancer who is classified as a ‘lead’ performance level. All other positions may be
filled by anyone of ‘follower’ performance level and up.
FORMATION GUIDELINES:
• ONLY moves from the Shambling Shimmies Level 1 Tribal Vocabulary may be cued when you are in
formation.
• You must be sure to properly CUE all moves and variations when in formation.
• When in performance, you should ONLY cue moves you have been cleared as achieving ‘proficiency’ in.
(in class, you should practice all moves)
CHANGING LEAD
FADING
Cue: Leader will begin to move backwards with any traveling move.
Variations:
• Within a few steps (especially if the formation has previously traveled forward), the second row has the
option of following the leader in traveling backwards (if there is room), but after a few steps, the second
row must come forward (the person who determines when the second row comes forward is the person
on stage left – who would end up being the new leader after the lines switch).
• Standard 4 person formation after fading:
(chorus)
2 1
4
3
(audience)
• Duets fade as usual AND then switch sides so that the new leader is on the left.
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(before fading)
2
1
(after fading)
1
2
CIRCLING
Cue into the circle: Leader will begin whatever move they wish to circle in and then do a quick, uncued half turn to
the right to face the rest of the formation. Everyone will make eye contact, back up slightly to prepare, and then
begin moving in a circle on the next downbeat.
Cue to take the lead: New Leader will yip as they approach the front left corner of the stage (or performance area)
and turn away from the chorus to face the audience. Everyone else will fall into standard formation (they should
already be very close to their positions)
Variations:
• If the circle goes around once or twice and no one has taken the lead, someone should cue to take it back
to the chorus.
• See circle guidelines for options, guidelines, and cues for other things to be done in the circle rather than
proceeding straight to another leader.
NOTES
• To keep performances interesting, leaders should (as a general rule) keep their time short and then pass
off the lead to others (or go back to the chorus).
• It is always a good idea to know who is behind you and next in line to take the lead to avoid passing it off
to someone who you know is uncomfortable leading (in performance).
• If you are uncomfortable leading, are passed the lead in performance and are not classified as a lead
performance level, or your mind just goes blank, you can always just fade back or go into a circle.
• It is important for EVERYONE who performs outside of the chorus to understand how to change leads
(including how to cue).
BASIC SOLOING
Cues:
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• Basic Cue: Go out from the chorus without looking at or gesturing to anyone in the chorus. No one should
follow a dancer out who leaves the chorus this way.
• Solo Circle Cue: Immediately following a solo, go to center stage, turn around and face the chorus and yip,
then turn and join the end of the chorus.
Solo Circle:
• When a Solo Circle is cued, each dancer (beginning with the dancer in the front of the chorus) should go
out and do a short solo and then rejoin the chorus at the end. This should continue until everyone in the
chorus has done a solo (the person who originally cued the solo circle should be in the lead of the chorus
at this point). Solos may be as short and simple as doing a few repetitions of one move in center stage for
inexperienced dancers.
General Solo Guidelines:
• Solos should be kept fairly short (significantly less than full song length) both to allow other dancers the
chance to dance as well as to keep the tribal feel of the show.
• Solos may contain moves that do not fall within the Level 1 vocabulary, but they should contain at least
some moves from the Level 1 vocabulary. (We like tribal fusion, but it’s not tribal fusion if you completely
abandon the tribal altogether)
STANDARD GALLOP (or LONGA) ZILL RHYTHM
Zills:
R(1) L(2) R(3)
Where this falls in the music:
The 3 of the pattern falls on the downbeat. (In other words the emphasis of the pattern is on the 3 or last strike of
the pattern)
Full Time:
In 4/4 time played at full-time this rhythm is &-a-1 rest &-a-2 rest &-a-3 rest &-a-4 rest
1 i & a 2 i & a 3 i & a 4 i & a 1
R R L R R L R R L R R L R
Half Time:
In 4/4 time played at half-time the rhythm is 4-&-1 rest 2-&-3 rest 4-&-1 rest 2-&-3 rest
1 i & a 2 i & a 3 i & a 4 i & a 1
R R L R R L R
Quarter Time:
In 4/4 time played at quarter-time the rhythm is 3-4-1 rest 3-4-1 rest 3-4-1 rest 3-4-1 rest
1 i & a 2 i & a 3 i & a 4 i & a 1
R R L R
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SHAMBLING SHIMMIES LEVEL 1 TRIBAL IMPROV STUDENT
GROUP (“SWAMP DAISIES”)
PERFORMANCE GUIDELINES
SWAMP DAISIES
Swamp Daisies is the name for Shambling Shimmies’ Level 1 tribal improvisational style performing student group.
Students of all levels may participate in this group once they have reached a minimum level of proficiency as
determined by an instructor. Performance with Swamp Daisies requires prior instructor approval and participants
will follow a progression from chorus to follower to leader as their knowledge, experience, and execution of moves
progresses.
PERFORMANCE READINESS CHART
NOTE: Approval of instructor is required for all performances / performance levels.
CHORUS
MEMBER
CHORUS LEAD FOLLOWER LEAD
SLOW MOVES
Taxim MIN PROFICIENCY PROFICIENCY PROFICIENCY PROFICIENCY
Maya MIN PROFICIENCY PROFICIENCY PROFICIENCY PROFICIENCY
Reach and Lean Combo INTRODUCTION MIN PROFICIENCY MIN PROFICIENCY MIN PROFICIENCY
Basic Arms MIN PROFICIENCY MIN PROFICIENCY MIN PROFICIENCY PROFICIENCY
Floreos MIN PROFICIENCY MIN PROFICIENCY MIN PROFICIENCY PROFICIENCY
Pulling Taffy MIN PROFICIENCY MIN PROFICIENCY MIN PROFICIENCY PROFICIENCY
Horizontal Figure 8's
with Turn
INTRODUCTION INTRODUCTION PROFICIENCY PROFICIENCY
Body Roll MIN PROFICIENCY MIN PROFICIENCY MIN PROFICIENCY PROFICIENCY
Reach Forward, Arch
Back
INTRODUCTION MIN PROFICIENCY MIN PROFICIENCY MIN PROFICIENCY
Torso Rotation INTRODUCTION MIN PROFICIENCY MIN PROFICIENCY MIN PROFICIENCY
Camel Combo INTRODUCTION INTRODUCTION MIN PROFICIENCY MIN PROFICIENCY
Large Hip Circle INTRODUCTION INTRODUCTION MIN PROFICIENCY MIN PROFICIENCY
Circle Walk MIN PROFICIENCY MIN PROFICIENCY
FAST MOVES
Singles MIN PROFICIENCY PROFICIENCY PROFICIENCY PROFICIENCY
Double Shimmy MIN PROFICIENCY PROFICIENCY PROFICIENCY PROFICIENCY
Choo Choo w/ Arc TurnMIN PROFICIENCY
(no arc turn needed)
MIN PROFICIENCY
(no arc turn needed)
MIN PROFICIENCY
(including turns)
PROFICIENCY
Hip Drop Kick MIN PROFICIENCY MIN PROFICIENCY MIN PROFICIENCY MIN PROFICIENCY
3/4 Shimmy/Shimmy
Walk
INTRODUCTION INTRODUCTION MIN PROFICIENCY MIN PROFICIENCY
Egyptian w/ half and
quarter turns
MIN PROFICIENCY
(basic only, no turns
needed)
MIN PROFICIENCY
(basic only, no turns
needed)
MIN PROFICIENCY
(including turns)
PROFICIENCY
Arabic MIN PROFICIENCY MIN PROFICIENCY MIN PROFICIENCY PROFICIENCY
Arabic Hip Twist w/ half
and quarter turns
MIN PROFICIENCY
(just enough to travel
in circle, no turns)
MIN PROFICIENCY
(just enough to travel
in circle, no turns)
MIN PROFICIENCY
(including turns)
MIN PROFICIENCY
27
Arabic Chest Drop MIN PROFICIENCY MIN PROFICIENCY
Ghawazee Step Combo MIN PROFICIENCY MIN PROFICIENCY
Box Step MIN PROFICIENCY PROFICIENCY
TRIBAL CONCEPTS
Basic Formation Order MIN PROFICIENCY PROFICIENCY
Chorus Guidelines MIN PROFICIENCY PROFICIENCY PROFICIENCY PROFICIENCY
The Circle MIN PROFICIENCY PROFICIENCY PROFICIENCY PROFICIENCY
Changing Lead (Fading,
Circling, etc.)
MIN PROFICIENCY PROFICIENCY
Basic Soloing INTRODUCTION INTRODUCTION MIN PROFICIENCY MIN PROFICIENCY
PERFORMANCE
REQUIREMENTS
Attend a Satchels
Performance (as
audience member)
ATTENDANCE
REQUIRED
ATTENDANCE
REQUIRED
ATTENDANCE
REQUIRED
ATTENDANCE
REQUIRED
Sign up for performance
(and get instructor
approval) at least 1 week
in advance
REQUIRED REQUIRED REQUIRED REQUIRED
Attend at least 2 tribal
technique classes in each
month you wish to
attend (one must be the
rehearsal immediately
prior to the show)
REQUIRED REQUIRED REQUIRED REQUIRED
Discuss Appropriate
Costuming / Makeup
plans with instructor.
(See Costuming
Guidelines)
DISCUSSION/
UNDERSTANDING
REQUIRED
DISCUSSION/
UNDERSTANDING
REQUIRED
DISCUSSION/
UNDERSTANDING
REQUIRED
DISCUSSION/
UNDERSTANDING
REQUIRED
Do at least one Satchels
Performance as a Chorus
Member only
REQUIRED REQUIRED REQUIRED
Do at least one
performance as a
Follower and/or Chorus
Lead only
REQUIRED
***See instructor to discuss your personal proficiency levels / a time when you can be evaluated***
DEFINITIONS
CHORUS MEMBER - Primarily stays in the chorus during performance. This will include the standard chorus
formation as well as the circle. May be brought out for short periods of time by an instructor to perform in
formation specific moves the instructor knows the student is proficient in. Should not come out on their own to
join any other formations. For the most part will not be left in the lead position of the chorus, and if left in the lead
for short periods of time should stick to the current move.
CHORUS LEAD - Primarily stays in the chorus during performance. This includes the standard chorus formation as
well as the circle. May be brought out for short periods of time by an instructor to perform in formation specific
28
moves the instructor knows the student is proficient in. Should not come out on their own to join any other
formations. Can lead the chorus as well as lead the chorus into and out of circle. Also, depending on student's
experience, may do short solos in formation or circle if comfortable.
FOLLOWER - Comes out of the chorus into formation during performance with other students as well as the
instructor. Does not lead out groups into formation. Can follow any level 1 moves the leader may lead, but may
not be ready to cue them yet. If formation fades and leaves a follower in a lead position for short periods of time,
the follower should be capable of leading the current move or one other move and then handing back off the lead
(which is what is expected of someone at this level). A follower should also be able to at least do a 1 or 2 move
solo in the center of formation during a solo line.
LEAD - Comes out of the chorus into formation during performance with other students as well as the instructor.
Leads groups into formation. Can follow any level 1moves and can clearly and confidently cue / lead a large
enough vocabulary to respond to the music. A lead should also be able to do a solo (more than a 1 move solo) in
the center of formation during a solo line.
INTRODUCTION – Student has been introduced to move or concept in class at least once but is not expected to be
proficient in it. Moves with this requirement are not generally expected to be applicable at the given performance
level, but could very rarely come up. We do not want the move or concept to be totally foreign to the student on
the off-chance that it does come up in performance.
MIN PROFICIENCY – Student has not only been introduced to the move or concept but has achieved a basic
understanding and ability to execute it. Movements with this requirement should be able to be executed safely
and at least closely approximate the overall desired look. Students do not need to be able to cue the move
themselves, but they should be able to follow cues from competent leaders for both the basic moves and any
applicable variations.
PROFICIENCY – Student fully understands the move or concept. Movements with this requirement should be able
to be executed not only safely, but with proper form. The move should be easily recognizable and should blend in
with the same move being done by other tribe members (who have achieved proficiency). Proficiency also
indicates that the student should be able to both follow and clearly and properly cue the move and all of its
variations. Moves that a student has achieved proficiency in are the ONLY moves the student should cue/lead in a
performance situation.
SWAMP DAISIES PERFORMANCE OPPORTUNITIES
Currently the Swamp Daisies are invited to perform at the monthly Satchels Shakedown student showcase.
Shambling Shimmies also hosts regular Haflas (dance parties) at the Shambling Studio where any Swamp Daisies in
attendance are invited to perform. Both of these venues are welcoming, friendly, student-appropriate
opportunities, and provide Level 1 students a chance to perform in a low-pressure environment among friends,
family, and bellydance lovers. Any further Swamp Daisies performance opportunities would be evaluated on a
case by case basis.
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COSTUMING GUIDELINES
Guidelines for costuming for casual performances (such as Satchels) and full performances (such as art fairs or
more public performances). See the ‘Costume Pieces Definitions / Explanations’ for further information on each
costuming piece and further guidelines.
SATCHELS / CASUAL PERFORMANCE GUIDELINES:
CHOLI OR HALF TOP – Either Choli or Half top or Halter / Dance Bra (or Both) Required
HALTER OR DANCE BRA – Either Choli or Half top or Halter / Dance Bra (or Both) Required
BELLY COVER - Optional
HIP SCARVE(S) – at least one Required
TASSEL BELT - Preferred
OTHER HIP DECORATION - Optional
SKIRT(S) – Either Long Full Skirt or Full Pants (or Both) Required
PANTS – Ether Long Full Skirt or Full Pants (or Both) Required
SHOES – Optional, but a good idea due to the location
JEWELRY - Required
MAKEUP - Required
HAIR DECORATION – Required
COVERUP - Required
FULL PERFORMANCE GUIDELINES:
CHOLI OR HALF TOP – Required
HALTER OR DANCE BRA – Optional unless otherwise noted
BELLY COVER – Optional unless otherwise noted
HIP SCARVE(S) – at least one Required
TASSEL BELT - Required
OTHER HIP DECORATION - Optional
SKIRT(S) – Required
PANTS – Required
SHOES – Optional
JEWELRY - Required
MAKEUP - Required
HAIR DECORATION – Required
COVERUP - Required
COSTUME PIECES DEFINITIONS/EXPLANATIONS:
CHOLI OR HALF TOP – Shirt that cuts off around the ribcage area. Cholis are the traditional top for tribal
bellydance. The hard line creates emphasizes upper body isolation and movement.
HALTER OR DANCE BRA – Decorative halter or bra style top (often w/ coins, shells, mirrors, beads, etc.) specifically
made for dancing. These can (depending on cut and circumstance) be worn alone or over a choli or half top,
though in tribal bellydance the more traditional way to wear them is over a choli.
BELLY COVER – form fitting shirt, leotard, or body stocking worn under the choli (optional in most circumstances).
MUST be form fitting to allow for visibility of undulations, etc. This can be opaque, sheer, lace, net, etc. It should
coordinate with the costume and be contrasting in color with the top and bottom (or scarves) so lines are still
made for visibility of isolations.
HIP SCARVE(S) – at least one scarf – fringed, beaded, coined, or otherwise – in colors that stand out from your skirt
(and belly cover if worn) – these create lines that allow your hip work to be more visible and can be tied to create
more bulk at the hips which create shape and also make hip work more visible.
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TASSEL BELT – Belt or scarf with (usually yarn) tassels. Traditional tribal bellydance attire. Tassels swing, bounce,
and otherwise emphasize hip movement.
OTHER HIP DECORATION – coin belts, chain belts, etc. – Add movement, sound, and adornment.
SKIRT(S) – In most cases full, long skirts – broomstick skirts, circle skirts, 10 yard skirts, 25 yard skirts can all work.
10 and 25 yard skirts are the traditional choices. Panel skirts and shorter skirts can be layered over other skirts and
very full pantaloons - especially with a lot of scarves and hip adornment, but by themselves they do not create a
full enough (or covered enough) look. Skirts should in most cases be worn with pants. The exceptions would be in
extremely hot and/or casual performances. In these circumstances especially, the skirt should be full and long and
you should still be wearing at least hot pants underneath. Skirts (worn over pants) can be tucked up in various
ways to create different looks and shapes (frequently done in traditional tribal bellydance).
PANTS – Pants should with very few exceptions be VERY full. Pantaloons (full pantaloons), flare pants, and palazzo
pants are the primary acceptable choices. Pantaloons are the only pants worn in traditional tribal bellydance. The
only time smaller pants are acceptable is under a skirt worn down. In that case, less full pantaloons, jazz pants, etc
are acceptable.
SHOES – Shoes (usually optional) should be flexible enough for your feet to move well. The soles should allow you
to turn. Shoes made specifically for dance are usually the best choices: ballet shoes, jazz shoes, Hermes sandals,
lyrical shoes, etc. No matter what shoes you choose – make sure that you have practiced in the shoes and are
comfortable dancing in them.
JEWELRY – At least some jewelry should be worn at ALL performances. A good guideline would be at least a
necklace, a bracelet on each arm, and a ring on each hand. This is a MINIMUM. The tribal look is not understated.
MAKEUP – Makeup should be worn at ALL performances. This should be performance makeup, which is much
more than you would wear for a night out. A face without makeup or minimal makeup will be washed out on
stage and in pictures and its facial expression will disappear. We do not require any specific makeup palate or
decorations at this time. You may use decorative markings if you so choose. If you do choose to use any
decorative markings, it is a good idea to research and be sure you know if they are purely decorative or if they
have meaning in certain cultures and decide if you want to portray those meanings.
HAIR DECORATION – At least some hair decoration should be worn. This can be as small as a decorative hair clip
and as extensive as a headdress full of flowers and hair falls and whatever else you can imagine. Traditional tribal
headdress is a turban. We have never done turbans in our tribe.
COVERUP – Outer garment to be worn whenever not actually on stage … should at least cover belly (this applies
even if you are wearing a belly cover). In more formal situations, the more of the costume that can be covered up,
the better (at least upper/ particularly decorated portions of costume – bra should be as covered as possible if
worn). Options can include scarves tied around over the shoulder (especially for more casual performances or
performances in very hot weather), veils, capes, coats, caftans, etc. The cover-up should be attractive and present
a nice overall appearance with your costume, as this is what the public will see any time you are not on stage.
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LEVEL 1 TO LEVEL 2 PROGRESSION GUIDELINES (TRIBAL)
BASIC REQUIREMENTS TO MOVE UP FROM LEVEL 1 TO LEVEL 2
• Complete at least 1 full series (usually 12 weeks) of Level 1 material
o You can track your progress for this by following along with the L1 Vocabulary. A full series
covers the entire vocabulary. An instructor can also get that information for you if you are
unsure (the instructor will likely need to look back at the records so the information may not be
immediately available that day)
• Obtain a level of ‘Proficiency’ in all Level 1 material
o This includes the L1 Vocabulary (everything on the chart) as well as Tribal Concepts.
• Have Zills (finger cymbals) and be able to play a basic gallop pattern on beat.
• Be evaluated by an instructor and receive instructor approval to move up
o Review/Evaluation days will be automatically scheduled at the end of every full series of Level 1
material. After these evaluations, instructors will tell students who are ready for level 2 that
they can move up. All students can see the instructor for feedback on their progress (at
evaluation time and at any time during their learning process). For anything other than very
basic feedback, however, students should consider attending study hall or making other
arrangements for a private lesson/evaluation so that enough time can be devoted to the
student’s individual concerns. Students who must miss review/evaluation days or would like to
receive an evaluation at a different time can do so during study hall or make arrangements for a
private lesson/evaluation.
• Take an active role in your dance education
o While the instructors will be evaluating all students’ progress, it is essential that students
interested in progressing in levels track their own progress, ask for feedback, and inform the
instructors of their interest in progression and/or performance as well as their concerns. Each
student is different and has different goals and the best way for the instructors to help you
achieve your individual goals is to tell them what those goals are.
o Practice at home, read your cues (and other) handouts, watch videos of belly dancers and
bellydance tribes, listen to bellydance music, etc.
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BASIC REQUIREMENTS TO ATTEND LEVEL 2 CLASSES AS A LEVEL 1.5
**You MUST continue attending Level 1 classes REGULARLY as long as you are still a Level 1.5 and wish to take
L2 classes – if it is determined that you are not meeting this requirement, you will be asked to go back to level 1
classes only until you have achieved full level 2 status.**
• Complete at least 1 full series (usually 12 weeks) of Level 1 material
o You can track your progress for this by following along with the L1 Vocabulary. A full series
covers the entire vocabulary. An instructor can also get that information for you if you are
unsure (the instructor will likely need to look back at the records so the information may not be
immediately available that day)
• Obtain a level of ‘Min Proficiency’ in all Level 1 material
o This includes the L1 Vocabulary (everything on the chart) as well as Tribal Concepts.
• Have Zills (finger cymbals) and be able to play a basic gallop pattern on beat.
• Be evaluated by an instructor and receive instructor approval to begin attending Level 2 classes in
addition to Level 1 classes (see above re: evaluation days)
• Take an active role in your dance education
o While the instructors will be evaluating all students’ progress, it is essential that students
interested in progressing in levels track their own progress, ask for feedback, and inform the
instructors of their interest in progression and/or performance as well as their concerns. Each
student is different and has different goals and the best way for the instructors to help you
achieve your individual goals is to tell them what those goals are.
o Practice at home, read your cues (and other) handouts, watch videos of belly dancers and
bellydance tribes, listen to bellydance music, etc.
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LEVEL 1 TRIBAL FORMAT PROGRESS CHART
You can use this chart to track your progress through the Level 1 Tribal curriculum. You will need to be fully
proficient in each of these areas before moving on to level 2. If you feel you have achieved this level of proficiency
and would like to arrange an evaluation OR if you would like extra help or explanation of any of these moves, you
can come to study hall or discuss other arrangements with an instructor for private instruction/evaluation.
SLOW MOVES FAST MOVES
Taxim Singles
Maya Double Shimmy
Reach and Lean Combo Choo Choo w/ Arc Turn
Basic Arms Hip Drop Kick
Horizontal Figure 8's with Turn 3/4 Shimmy/Shimmy Walk
Body Roll Egyptian w/ half and quarter turns
Reach Forward, Arch Back Arabic
Torso Rotation Arabic Hip Twist w/ half and quarter turns
Camel Combo Arabic Chest Drop
Large Hip Circle Ghawazee Step Combo
Circle Walk Box Step
BASICS ISOLATIONS
Floreos HIP
Floreo Turn Bumps
Pulling Taffy Boxes
Arm Positions (rest, 1-5, low, ghawazee) Circles (Exterior)
POSES: Eights
Cat Stance, Arms Rest Shimmies
Step Fwd, Tendu Back, Arms 1st CHEST
Weight Back, Tendu Fwd, Arms 2nd Slides
LEVELS: Boxes
Standard Circles (Horizontal)
Kickstand Eights
Lunge Lifts/Drops
TRAVELING / FOOTWORK: SHOULDER
March Pushes
Releve March Seesaws
Twist March Boxes
Dancer Walk Rolls
Turns (3-Step) Shimmies
TRIBAL CONCEPTS
Basic Formation Order Basic Soloing
Chorus Guidelines Musicality Topics
The Circle Costuming/Performance Guidelines
Changing Lead Basic Tribal Zills (gallop/longa)
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